剧情简介
康沃尔(🍅)渔村的(de )风景明(✒)信(🐽)片(🥇)田园诗误导(🍩)了(le )人(rén )们。虽然过去(🛍)钓鱼是一种养家糊口的方式(shì )，但如今(🔬)富有(🗼)的伦敦(💤)游客(kè )纷纷(🌫)下山(shān )，取代了当(🏇)地人，当地人的(🐿)生计(jì )因此受(shòu )到威(🛍)胁。史蒂(👁)文和(💆)马丁兄弟的关(🏐)系(xì )也很紧张。马丁(dīng )是(shì )一(😚)个没有船(chuán )的渔夫，因为(🕕)史蒂文(wén )开(kāi )始用它来为一整天(tiān )的游客提供更赚(zuàn )钱的旅游。他们(men )卖(🎛)掉了这座家庭别(🙂)墅，现在看来，最后一(yī )(🙄)场战斗是和新(xīn )主人在海(🍄)边的停车(👃)位上(shàng )展开。然而，情况(⛳)很快(🤳)就失(shī )控了，而不仅仅是因(yīn )为车(chē )(🗳)轮夹(jiá )(🈁)钳。 Bait是一种黑白，手工制(🏻)作，16毫米胶(🤷)片制作的(de )(🌼)电影。许多(duō )关于鱼(🏒)、网、龙虾、长靴、绳(shéng )结和(📛)渔篮的特(tè )写镜头(tóu )让人想(xiǎng )起了蒙太奇(🏴)景(jǐng )点的理论(lùn )(🔙)。对不(🐖)同社会阶(💣)层的描(🌸)述——可以说(shuō )是阶级关系(xì )—(🎦)—也让人想起了英(⏺)国电(🧘)影中的社会现(🕺)实主义传(🚤)统。然而(ér )，最(💁)重(chóng )要的是，在影(yǐng )(🐈)像中不同层次的电影历史参考(kǎo )文(wén )献之下，当(dāng )前许(xǔ )多政治(🕵)关联正(📯)在等(děng )待被(🔍)发(fā )现。 The picture-postcard idyll of the Cornwall fishing village is misleading. While fishing used to be a way of supporting oneself, wealthy London tourists have now descended and are displacing the locals, whose livelihood is thus threatened. The relationship between brothers Steven and Martin is also strained. Martin is a fisherman without a boat, since Steven started using it for far more lucrative tours for all the day-trippers. They’ve sold the family cottage and now it seems that the final battle to be fought is that with the new owners over the parking space next to the sea. Yet the situation soon gets out of hand, and not just because of the wheel clamp. (🧒) Bait is a black-and-white film shot on hand-processed 16mm. Numerous close-ups of fish, nets, lobsters, wellington boots, knots and catch baskets bring to mind the theory of a montage of attractions. The depiction of the different social strata –(🎲) one could speak of class relations – is also reminiscent of the tradition of social realism in British cinema. Above all, however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.
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